All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
The story of a love that became the most fearful thing that ever happened to a woman!
A police detective falls in love with the woman whose murder he's investigating.
The perfect noir comedy of desire, an erotic refraction played in dapper proximity to Hitchcock (what’s taken from Rebecca is passed on to Vertigo). The famous opening introduces aristocratic Manhattan as a perfumed glass cabinet, a whip pan followed without pause by a dolly-in reveals Waldo Lydecker (Clifton Webb) in his bathroom soaking like Marat, venomous typewriter suspended above a marble bathtub. Queenly aesthete and viperish columnist ("sentiment comes easy at 50 cents a word"), he finds a Galatea in Laura (Gene Tierney) and helps her ascend from Madison Ave. go-getter to shimmering socialite. A disfigured corpse brings out the blue-collar detective (Dana Andrews) and the shady bourgeoisie: a sponging playboy (Vincent Price), the "lean, strong body" easily toppled, and…
Noir-November Challenge! Movie #22
Polished Film Noir that hits all the right notes despite the absurd plot twists! A visual banquet for the eyes! The actor that made this film simply delicious was surprisingly enough Clifton Webb!
A mystery film noir directed by Otto Preminger firing on all cylinders. The nights are pitch black, the weather is restless and the brightly lit interiors are filled with cigarette smoke, antique furniture and walking old-fashioned costumes. The atmosphere is stylishly conveyed and acutely perceived. The black and white cinematography is beautifully stark, the camera is moving smoothly, the dissolves are seamless. The sweeping, grandiose and dramatic score gives such weight to unfolding scenes. The dialogue is smart and very well written, excellently punctuated by the cast, part of which are Dana Andrews as the experienced and determined detective and Gene Tierney as the beautiful, attractive and fascinating titular character.
The mystery surrounding the murder is expertly constructed, allowing for…
An incredible film about male projection. LAURA initially plays into the cliché that tends to type all movies that start with the focal character dead, wherein the viewer gets to feel like that person is an active, driving character for the force they continue to exert on the living. But in this case, when Laura is revealed to be alive, her actual presence throws everything that came before into disarray, revealing that image driving the story to be nothing more than the idealized visions of different men in love with her. I've been wanting to watch this movie for years (it spent a solid year near and at the top of my Netflix queue but the disc was always rented out), but never knew anything about it. Imagine my surprise to get not only a great noir an incredibly ahead-of-its-time reflection on noir's pedestal problem.
I don't use a pen. I write with a goose quill dipped in venom.
There's so many films that ended up truly great out of sheer luck, accidents and circumstance. Laura is no different. Otto Preminger struggled in every aspect to have this film made the way he wanted, because there was always someone or something working against him. After fighting to get the cast he wanted however, he was denied the right to direct the film and relegated to producing it.
Rouben Mamoulian was given the directing gig, but when the first dailies came in the studio was less then impressed. Much to Preminger's delight he was given the go ahead to fire Mamoulian and take over…
''Love is eternal. It has been the strongest motivation for human actions throughout history. Love is stronger than life. It reaches beyond the dark shadow of death.''
It's been a good long while since I sunk my teeth into a tasty slice of noir, and what a better way to reacquaint than with Otto Preminger's early landmark Laura. It successfully intrigues with a wonderfully serpentine mystery whilst also offering up finely tuned melodrama and a cracking script delivered by a very capable cast of players. Dana Andrews as Mark McPherson is astute casting as the hardboiled detective that finds he is falling for the seductive titular Laura (a radiant Gene Tierney) in the wake of her mysterious death. Clifton Webb…
Everything that can be said about the film...has been said. I liked it quite a bit. Gene Tierney shines throughout.
Never boring nor compelling this is a middle of the road film from Otto Preminger.
This review reportedly contains spoilers. I can handle the truth.
Of course Vincent Price did it. He's Vincent bloody Price.
I seem to recall Laura being a good movie, although I'm not precisely sure how good, yet I'll have to struggle through figuring out why. Isn't it fun that the cop is in love with a dead woman? I don't know, Hitchcock made that sort of thing seem interesting, but in Preminger's movie it's just there. Lydecker's character is actually fun to watch, if a little stiff in his supposed cleverness.
But you know what I do remember really liking, was the party scene and the ensuing moments. So I'll give this the rating I remember telling myself to give it when I first saw it.
Masterful romantic mystery.
This is one of the most famous noir-mysteries of the 1940s, but I can't say I was as wild about it as everyone else seems to be. While the supporting cast of Clifton Webb, Vincent Price, and Judith Anderson are excellent, Gene Tierney's title character and Dana Andrews' detective are frightfully boring. The latter is especially dull. I also found the central mystery to be a bit poorly conceived, and the reveals feel contrived too. Still, as a work of style, this is pretty gripping. Otto Preminger crafts a lot of strong scenes and this thing does manage to build a lot of energy in it's third act. The ending is especially awesome. Kudos once again to the supporting cast. Definitely a highlight.
Laura is an excellent movie and a masterpiece of film noir.
"In my case, self-absorption is completely justified. I have never discovered any other subject quite so worthy of my attention."
Laura is blessed with a wry script, the first half of the film abounds with witticisms and hardboiled dialogue, mainly delivered by Clifton Webb as Waldo Lydecker. Webb is the real star of this film; Laura herself, Gene Tierney, may be absolutely flawless but it is Webb who brings the entertainment. Dana Andrews again provides a stolid lead performance in a compelling film noir; but Webb, Judith Anderson and Vincent Price make Otto Preminger's film unmissable. Laura is a film noir, but it hangs on a gothic eroticism. The film has clearly been a huge influence on David Lynch's career,…
I'm trying to understand Preminger's place in the canon of "Great Filmmakers" but after this and Bunny Lake Is Missing, I'm not sure I totally get his reputation? Maybe I'm just watching the wrong films?
Every film that has ever been nominated for an Academy Award in any category. Enjoy!